Philosophiae Doctor - PhD / In my thesis I focus on Cape Town’s imaginary of cinemas – popularly called bioscopes – within a larger historical approach to temporary film halls, picture palaces, atmospherics and drive-ins. My inquiry includes both conceptual and institutional lenses to show how cinema houses enabled particular affects, eschewed bureaucratic restrictions and questioned political authority over public spaces. I ask specifically: how did cinema help to forge audiences and political sentiment by mobilizing the senses? How was the public threat posed by so-called ‘flea-pit’ film halls of early twentieth century seemingly appeased by the private promise of the multiplex rooms in suburban enclosures? For this purpose, I examine the appeal of early twentieth century cinemas alongside their impact in the city’s geography and incipient public sphere to argue that cinema promoted a collective form of experience that bypassed both segregationist and liberal policies of governance.

This study traces the history and culture of Spain as seen through the lens of the nation´s production of horror cinema. Starting from the boom of Spanish horror film in the early 1960s, the thesis compares and contrasts the political and social aspects of Spanish society throughout three distinct eras of the 20th century: 1962 – 1975 (the boom of Spanish horror film through the Franco dictatorship), 1975 – 1999 (the transition to democracy through the end of the 20th century) and 2000 – present (the 21st century). Movies as diverse as Gritos en la noche (1962, Jesús Franco), ¿Quién puede matar a un niño? (1976, Narciso Ibáñez Serrador) and Angustia (1987, Bigas Luna) are framed by culturally-related anectodes as well as correlations to their respective social environments. Special attention has been paid to the production and release of each film, especially in regards to censorship during the Franco dictatorship. The results show that Spanish horror cinema has acted as a true mirror to culture, society and politics in its native country throughout the 20th century and that this trend will likely extend in to the future.

Welcome to the movies! Welcome to the stars! Welcome to this grand illusion! All of it's yours. New Urbanism. Hollywood thinks you're stupid. Scientology. Retro-futurism. Taking back color from toiletries. Personal politics. Cutting off the legs of the bioscopes. The architecture of Fun. The death of Entertainment. Freedom of speech. Sticky floors. Googie. Suburbia. Popcorn. The way we live our lives. All seen through the limelight of a night at the movies. / Master of Architecture

[pt] O cinema brasileiro contemporâneo tem produzido comunidades de cinema, segundo pesquisadores que abordaremos no trabalho. Essas comunidades de cinema organizam diversos processos de constituição da visibilidade cinematográfica daqueles que se encontram desfavorecidos nas lutas nos sistemas de representações. De acordo com o teórico Jean-Louis Comolli, tais lutas são a própria forma das lutas sociais e políticas, e são responsáveis por estabelecer sua visibilidade. Assim, esta dissertação busca indagar como o documentário recente tem dado voz e imagem aos adolescentes – seu rosto, seus gestos, corpos e falas. Esses meninos e meninas adquirem, através do cinema, uma inesperada posição, que lhes permite tornar visível o que não era visto. Para desenvolver o estudo, este trabalho analisa os filmes A Vizinhança do Tigre (2014), de Affonso Uchôa, Um Filme de Verão (2019), de Jô Serfaty, e Espero Tua (Re)volta (2019), de Eliza Capai. / [en] Brazil s contemporary cinema has been producing communities of cinema, according to researchers we are approaching in this study. These cinema communities manage to organize different cinematographic visibility processes to those who find themselves in disadvantage in the representation system s disputes. According to theorist Jean-Louis Comolli, those disputes are the social and political disputes proper form, and responsible for establishing their visibility. Therefore, this work intends to inquire how recent documentaries are giving voice and image to the adolescents – their faces, their gestures, bodies and speeches. These boys and girls acquire, through cinema, an unexpected position, that enables them to make visible what was once unseen. In order to develop the study, this work analyzes the films A Vizinhança do Tigre (The Hidden Tiger, 2014), by Affonso Uchôa, Um Filme de Verão (Sun Inside, 2019), by Jô Serfaty and Espero Tua (Re)volta (Your Turn, 2019), by Eliza Capai.

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